Dwitza - what does it mean?
Is it a word, a name, a sound or a feeling? It's all of these and more. It's a word that conveys the heartfelt work
of a man who enjoys his work like no other. "I invented the word Dwitza for three reasons," relates Ed, "firstly, because of the graphic quality of the word. I wanted to be in total control of my own universe for this record, from the sounds to the art direction. Secondly, the sound
of the word - impossible to mispronounce in any language. Thirdly, to embody the spirit of all these songs, the titles of which have no literal meaning."

Composer of two feature soundtracks and five shorts, feted cinema critic, inveterate collector, gastronome,
wine writer and above all, musical magpie. Ed Motta
is a man from whom music literally pours in a joyous cascade. Anyone who has seen him, or even just been
in a room with him, will stand testament to the constant composition that is the man. During a recording career that started fifteen years ago, (aged 15!), Ed has always strived to make music from deep within the heart and soul as well as the songs necessary for commercial success. With Dwitza, however, Ed has created his
first integral work - an album of the songs and sounds
of his soul that have been swelling inside him over the past few years.

Conceived, rehearsed and arranged over a very brief period at the end of 2001, Ed and his band went into
the studio to record an album that evokes the classic period of Strata East, Jackie & Roy, Steely Dan and
David Axelrod as well as the sounds and rhythms of
his native Brasil. Dwitza showcases well-rehearsed
and versed musicians improvising on themes, funky, flowing and tied tight with masterful arrangements
and brewed without the studio trickery that most
modern day artists need to get their groove going.

Ed Motta has created here a collection of songs that reflect his vast knowledge and taste in the musical works of the late twentieth century and whose inspiration has given them a new form for a new Millennium. One of
the lucky few Brasilians to hear the new LP, hot from
the mastering press, summed it up: "How great is it,
that someone of our generation makes music like this?"

Dwitza - It means all of these and more!
Ed Motta is possibly the most exuberant musical talent to have evolved in Brasil during the 90s. Plugged into the best of North American black (and white) music of the 70s (he is a true connoisseur of the music, recordings and technicians of the period), Ed also knows how to feed from the most consistent Brasilian experience of these musical forms. This has led him into a profound contact with the wider universe of high quality Brasilian music, whether or not it has the least connection with his original musical influences. This album, Dwitza, is an album at the same time relaxed and ambitious. Anchored in what we call samba jazz, Ed fluctuates between soul and the waltz, passing through bossa nova and chamber music.
Caetano Veloso - Salvador Jan 2002

This is a landmark record in the history of our instrumental music - even if one of the principal instruments of the group(s) happens to be Ed's own voice, singing two songs with (beautiful) lyrics, not to mention the surprise of a 'false French' as charming as the wordless 'false English' that Ed has used since he was a teenager. There's the 6/8 beloved of jazz fusion, there's samba soul, there's Cassiano and then there's samba-samba. But for me, the thing I love most about this record is the fact that it evokes, more than anything else, the Joao Donato of Quem é Quem.

It's difficult to imagine a pop composer, writing for a Broadway show, in the pure Sondheim style, playing in the fields of harmony with a song consisting exclusively of sus-4th chords, flirting with Kurt Weill and Moacir Santos, passing through a samba-canção dor de cotovelo, mixing harpsichord and choral voice with scat vocals, organ, violins and euphonium, with ARP strings. And all this without the peripherals of the modern studio.

But this is what Ed does best. With the chef's hand, slow cooking his bouillabaise over a charcoal fire, mxing herbs and spices, with courage, wisdom and above all, with great humour.
Edu Lobo - Rio de Janeiro Jan 2002

Young artists are supposed to be bold, right? Well, in these days, not always. After 20 years in which the younger generations of Brazilian artists seemed too tired to try something different, here's a breath of fresh air for the category. Ed Motta, the young kid who had become an instant pop hero in the early 90's, with his tasty, funky tunes in the style of his late uncle Tim Maia, took a
U-turn on his music. Obviously influenced by his own
heroes (some of which, unfortunately, known mostly
in the alternative scene, but great nevertheless, like Dom Salvador, Moacir Santos, Guinga) he was brave enough to take the risk of shocking his established audiences and brings us a collection of wordless tunes, expressing his musical thoughts and ideas, backed by a fine band and with a daring concept regarding the (un)uses of language.

Welcome to the family, with its joys and dangers,
of creative artisans in Brazilian music... God bless.
Joyce - Rio de Janeiro Jan 2002

Marcos Valle - Rio de Janeiro Jan 2002
To know music like Ed Motta knows music is to be privileged. To make music like he makes is an even greater privilege. The diversity of his influences, from bossa nova, jazz and soul to pop and classical, are summed up in his innate talent and his dedication to
his work and make him perhaps the most complete Brasilian musician of the new generation. It's a great pleasure to hear him singing, playing and arranging his own compositions. Thanks Ed. The music thanks you, too.

Track by track, this is how Ed Motta sees Dwitza...

1) Um Dom Pro Salvador - this is an homage to the great Dom Salvador. I was lucky enough to show him this live when I opened for Ivan Lins (with Chaka Khan as guest) at Carnegie Hall last year and, thank God, he approved! The Afrocentric soprano solo is by Lelei who's a big Yusef Lateef fan.

2) No Carrão Eu Me Perdizes Na Consolação - another homage - this time to the suburbs of São Paulo. A samba jazz trip inspired by Marku Ribas who, to my shame, I first heard in London when
I played at Dingwalls in 1992 - I was blown away
by his funky Brasilian roots and it caused me to rethink my take on MPB!

3) Sus-tenta - so called because all the chords are Sus-4 - like soul jazz classics Maiden Voyage,
or like Donato/Deodato and James Mason.

4) Doce Ilusão - the great songwriter Sueli Costa influenced this old school samba-canção which
has a delicious late period Jobim flavour.

5) Lindúria - very Steely Dan! Written for my wife Edna's birthday (23 Sept the same day as Coltrane) when I was a little drunk on good wine - the title could mean 'lindalind' and here I used dense English lyrics that really have no meaning.

6) Valse Au Beurre Blanc - a schizoid French chanson-waltz in false French. Listen carefully and all you hear are the names of cheeses and wines! Chambertin, Livarot, mmmm!

8) A Balada Do Mar Salgado - a beautiful duet with
a beautiful voice - Leila Maria could be Brasil's Jean Carn - from the vocal opening the track evolves into a Charles Mingus/Lennie Tristano
type of arrangement. The name comes from Italian comic book fumettista Hugo Pratt's famous work Corto Maltese.

10) Malumbulo - another made-up title for some
Les de Merle tinged Afro Cuban jazz in 6/8 time.
This features Teco Cardoso on baritone sax.
Before we recorded the track Teco listened to
two LPs for inspiration - Charles Davis' Ingia
and Cecil Payne's Zodiac before achieving a sound of post-bop perfection.

11) Madame Pela Umburgo - the Madame is a fictitious character. Imagine her as a lover of
Fritz Lang's Dr Mabuse. The track is typical of
my soundtrack work, of which I'm really proud.
Axelrod and Morricone meet the East European sadness of Wojciech Kilar…

12) Cervejamento Total - maybe in English you could say it's 'all beered up'. This is one of those total feelgood 70s sambas - skindo skindo skindo lele - all the way!

13) Papuera - another 5/8 piece, but this time a funky analogue showpiece for the legendary ARP synths and a sublime solo from trumpeter Jessé Sadock [first trumpet in the Orquestra Sinfonia do Rio De Janeiro] inspired by Oscar Brashear.